MUSIC OF THE FUTURE. SENSATION OPERA.
Manager (to his Primo Tenore, triumphantly). "My dear fellow, I've brought you the score of the new opera. We've arranged such a scena for you in the third act! o' board of the Pirate Screw, after the keelhauling scene, you know! Heavy rolling sea, eh?—Yes, and we can have some real spray pumped on to you from the fire-engine! Volumes of smoke from the funnel, close behind your head—in fact, you'll be enveloped as you rush on to the bridge! And then you'll sing that lovely barcarolle through the speaking-trumpet! And mind you hold tight, as the ship blows up just as you come upon your high D in the last bar!!!"
At a Problem Play.—Mr. Dinkershein (eminent critic). How did you enjoy the piece, Miss MacGuider?
Miss MacGuider. Well, to tell the truth, I didn't know what it was all about.
Mr. Dinkershein. Excellent. The author gives us so much to think of.
Question and Answer.—"Why don't I write plays?" Why should I?
Not exactly a Theatrical Manager's Guiding Motto.—"Piece at any price."
Our Shakspearian Society.—In the course of a discussion, Mrs. —— observed, that she was positive that Shakspeare was a butcher by trade, because an old uncle of hers had bought lambs' tails from Shakspeare.
"Sound Dues."—Fees to opera box-keepers.
Copyright and Copywrong.—The dramatist who dramatises his neighbour's novel against his will, is less a playwright than a plagiary.
